The “dramatis personae” in Antoni Miró’s painting
In the tragicomedy of existence and within the artistic work of the painter Antoni Miró, the existing pressures are of plural convergence. Yes, the “dramatis personae” moves us to a reality that, from the Diaspora of interests, is directed towards a conviction univocity. The “actors-interpreters”, along the very vast artistic production of the painter, reflect the same representative successions despite the multiform presence they show in every painting and series. A sort of worthy monodic or polyphonic chorus, all are worth, where the significant verisimilitude goes along with generating explicit paradigms.
The main characters shown in the windows of the painter Antoni Miró have that air of insubordinate necessity to equally and hierarchical say what they are. That is, the extras represent a genre that comes to question those who frankly look at them: the poor, the beaten, the mute, the rich, those wearing top hats, the brothers, the passers-by, the characters, the friends, the today’s barbarians..., all together and separately. The painting, with its propositional values, matches a cosmic vision whose result moves us: all the characters are one although they represent a common life despite the insides of the society that identifies us. Our look, although it is diverse by nature, succeeds when defining the personal identity of a manifestly substantial corpus. It is the opportunity to build universes by accepting the representative paradigms.